18+ only · Fictional adult characters · A private, account-based studio
18+ only · Fictional adult characters · A private, account-based studio
Text-to-video and image-to-video that depart from your stills. One movement per clip; fares by duration and resolution, posted before you confirm.
Video is the expensive leg of any journey here, so it is booked deliberately rather than scattered. The dependable route runs in two stages: a still first — on character, already inspected on the platform — and then a single movement laid over it. For a scene that exists nowhere yet, a text brief can depart directly, carrying the same character timetable as your stills so the woman in motion is the woman on the board. Fares are calculated from duration and resolution, posted in full before you confirm, and a failed render refunds itself like a cancelled service.
What the board will not do is improvise your character at video prices. Every inconsistency that can be caught on a 6-credit still should be caught there, because the same mistake discovered after a render costs the whole fare. Treat the still as the departure platform and the clip as the connection: platforms are where you check the timetable, connections are where you simply ride.
Image-to-video inherits the woman, the wardrobe and the setting from its first frame. It is the cheapest consistency on the whole network and the calmest way to travel.
A slow turn toward the platform light. A walk-in, unhurried. One movement, camera held steady. Choreography smears across frames; a single gesture renders clean and loops well.
Decide where the clip will live before rendering it. A teaser and a store piece run to different measures, and rendering the maximum of everything is how budgets quietly double.
The strongest frame of the week, given a few seconds of life to draw a viewer toward the full set waiting down the line.
One clean repeating gesture that reads at thumbnail size and survives a platform’s compression without losing the traveller.
Longer takes briefed from the same timetable as the neighbouring stills, so no scene feels like it was cast from a different network.
“She turns slowly toward the departure board light and lowers her eyes, the loose strands at her temples moving a little, camera still.”
One movement for the subject, none for the camera. The first frame already settled character, dress and room, so the announcement only directs motion.
“Fictional 35-year-old woman, deep espresso hair in a high twisted topknot, deep teal satin robe, crossing a quiet late-night station lounge toward camera, board glow behind her, unhurried, cinematic.”
The timetable travels into the clip brief word for word, so the woman who arrives in motion is the woman posted on the board.
| Lever | Effect on fare | Practice |
|---|---|---|
| Duration | Longer costs more | A teaser rarely needs more than a few seconds to make its stop |
| Resolution | Higher costs more | Render at the destination’s measure; upscale a winner later |
| Re-runs | Each render is a separate service | Correct the brief or the first frame before booking the run again |
By duration and resolution, calculated on the job and posted before you confirm. Nothing is charged in the dark, and a failed render refunds automatically.
Image-to-video for series work, because the first frame carries the character through the connection. Text-to-video suits standalone scenes and first experiments.
Yes, by two habits: depart from series stills wherever you can, and carry the character timetable into text briefs unchanged.
Usually too much is announced at once — several movements, a travelling camera, a busy concourse. One movement, a steady camera and an uncluttered setting is the pattern that arrives intact.
No. Clips wait in your account until you display or download them. Nothing is posted on your behalf.
Drafts, edits, animation and finishing share one credit balance and one private library. Start with the piece you need today.
Open the generator